The film adaptation of Dear Evan Hansen is a solid gateway towards introducing movie goers, like me, to the award-winning stage production its adapted from. The movie creates curiosity and builds interest for those who have been wanting to see it and missed out on the opportunity to do so.
As the urban legend goes, if you repeat the word “Candyman” in the mirror five times, an ominous presence will unapologetically seal your fate. If repeating “Candyman” is a representation of evil, perhaps a representation of good will would be repeating Nia DaCosta’s name in a mirror five times. Maybe if we all did, we could encourage her to keep making great movies like Candyman.
I find it strange that Blumhouse Productions would continue with The Purge series. Financial returns and core fanbase aside, The Purge had just about explored all of its themes, politics, and ideologies – and all of it was practically satirized in jet black manner with Blumhouse’s The Hunt. It’s almost expected that a new Purge movie would just be going through the motions, which is exactly what The Forever Purge does.
Blame it on naivety or over-confidence, but I thought I was going to be okay watching The Boss Baby: Family Business without watching The Boss Baby. Somewhere within the first act, I surrendered and desperately looked online for a rundown of the first movie. However, even though I was brought up to speed and given an idea of how bizarre The Boss Baby was, I still wasn’t prepared for how relentlessly loud and strange this…
The promotional material for Nobody features a grizzled Bob Odenkirk, a hilarious comic who has pulled off incredible range for over a decade within his tragicomedy oeuvre in the Breaking Bad universe, beating the pulp out of thugs and gunning down crooks. For viewers who have followed Odenkirk’s career from his sketch comedy days on Mr. Show to his time playing Saul Goodman on Breaking Bad and Better Call Saul, this action-packed visual is cool…
Making her directorial feature-length debut, Land is an unusually small effort from actor Robin Wright (The Congress). Atmospherically dour with beautiful cinemtaography, Land is also in the same meditative spirit as 2007’s Into The Wild, a film written and directed by Wright’s former husband Sean Penn.
The Hunt is more politically charged than expected. It’s also more cartoony than expected. It’s a sardonically funny thriller that points out hypocrisies of right-wing and left-wing beliefs, and favours extravagantly violent finales over mutual understandings. Cynical, yes; but The Hunt is a really ballsy movie for strapping on a blast suit and barrelling through such edgy, non-partisan material.
In The Invisible Man, the titular character – once a spooky Universal Classic Monster – receives a contemporary reimagining by writer/director Leigh Whannell.
Dolittle is a wildly incompetent movie showcasing a battle for the crown to be the film’s silliest performer. So, who wins? Well, I’m afraid, it’s a 20-way tie shared between scenery-chewing in-person performers and aloof voice actors.
The best thing about Hobbs & Shaw, the first feature-length spin-off in the Fast & Furious series, is that anyone can watch it. It does a good job standing on its own legs and distancing itself from its popular franchise; allowing everyone to pick up on the same page. But perhaps in an attempt to give its spin-off series a safe start, Hobbs & Shaw is as typical as action movies come – Hollywood buys…